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World music CD DVD shop and Classic distribution
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ID: STR37070 CDs: 1 Type: CD |
Subkolektion: Flute |
18.00 eur Temporarily out of stock |
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ID: STR37067 CDs: 1 Type: CD |
Kolektion: InstrumentalSubkolektion: Flute |
18.00 eur Temporarily out of stock |
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ID: ACDHJ043-2 CDs: 1 Type: SACD |
Kolektion: Vocal CollectionSubkolektion: Voices The basse danse is a stately courtly dance who’s origin can be traced to Burgundy. It was enthusiastically taken up at numerous courts throughout Europe and flourished for a century long from the middle of the 15th century onwards. That courtly dance existed before this is clear: for example, a description of the basse danse can be found as early as ca. 1320, in a poem by the Toulousain priest, friar and troubadour Raimon de Cornet. No information however concerning its choreography can be found until the early 15th century.
The Brussels (Bibliotheque Royale de Belgique, Ms 9085, ca.1470) and Toulouze (L’art et instruction de bien danser , ca. 1496, by Michel Toulouze) manuscripts are the two most important musical sources of the French basse dance; although both manuscripts are dated to the late 15th century, stylistically their music resembles the earlier decades of the century. These manuscripts, along with a few additional sources, contain around fifty cantus firmi , varying in length between twenty-four and sixty-two notes, notated in slow semibreves without rhythmical variation. It is assumed that the cantus firmi of these basse danses notated in long semibreves provided a monophonic basis for polyphonic instrumental improvisation. Evidence for such a practice can be found in some polyphonic examples written out on the tenor-melody Re di Spagna.
Regarding performance-tempo, Daniel Heartz points towards the relation between the music and the actual choreography in his study concerning the basse danse: according to Heartz, each semi-breve of the basse danse-melody corresponds to one figure in the dance. Each figure consisted out of four movements equal in length, while the musical accompaniment took up six beats. Thus, the dancers moved fluidly on their toes in a three-to-two proportion to the music.
Grand Désir - Ensemble for Late Medieval and Contemporary Music
The mezzo-soprano Anne Marieke Evers and the blockflute player Anita Orme Della Marta met at the beginning of their musical studies at the Conservatorium of Amsterdam in September 1997. They formed a duo shortly after, specializing in both contemporary music as well as medieval and renaissance music. Later in their careers, their paths led them to pursue further studies in medieval music at the Schola Cantorum Basiliensis, Switzerland, where they met the other ensemble members of Grand Désir. It was here that a common interest in the late-medieval music brought the group together in December 2004. Aside a few fixed members, Grand Désir likes to work with different musicians for each individual programme, thus creating the flexibility to obtain the perfect instrumentation for each project. Grand Désir performed their premiere in the ‘Fringe’ programme of the Utrecht Early Music Festival 2005. The ensemble has given numerous performances since in the Netherlands, Switzerland and Australia. |
18.00 eur Buy |
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ID: STR33441 CDs: 1 Type: CD |
Subkolektion: Chamber Ensemble |
18.00 eur Temporarily out of stock |
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ID: STR33885 CDs: 1 Type: CD |
Subkolektion: Flute |
18.00 eur Temporarily out of stock |
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ID: CDMAN145 CDs: 1 Type: CD |
Subkolektion: Harpsichord 1-2. Antonio Vivaldi.
Sonata No.3 in A minor for Violoncello and basso continuo.
5-11. Henrich Ignaz Franz Biber
Trio-Sonata in D minor for 2 violins, trombone and basso continuo.
12. Johann Ludwig Krebs
Fantasy for Oboe and Organ
13-19. Georg Philipp Telemann
Partita No.5 in E minor for Flute and Harpsichord.
20. Johann Joahim Quantz
Sonata No.3 for Flute and basso continuo.
Georgy Ginovker, cello (1-4)
Yury Semenov, organ (1-4)
Grigory Kneller, Mikhail Estrin, violin (5-11)
Victor Venglovsky, trombone (5-11)
Nina Oxentyan, organ (5-11)
German Lukianin, double bass (5-11)
Vladimir Kurlin, oboe (12)
Sergei Tsatsorin, organ (12)
Vladimir Fedotov, flute (13-22)
Lev Boldyrev, cembalo (13-22)
Victor Sobolenko, cello (20-22) |
18.00 eur Buy |
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ID: RK2207 CDs: 1 Type: CD |
Subkolektion: Flute Michael Form (recorder), Rebeka Rusó (treble & bass viol), Dolores Costoyas (theorbo), Dirk Börner (harpsichord)
Jacques Martin Hotteterre’s compositions are among the most substantial works of French chamber music from the early 18th Century. The two volumes of Pieces pour la flûte-traversiere have particular significance within his wide-ranging œuvre, much of which reveals didactic intent. Never before had a musical language of such expressiveness and sublime intimacy been realised in composition for a wind instrument. Aside from this multifaceted suites, the Airs et brunettes -with a bounty of original ornamentation- and the Sonates en trio -based on Arcangelo Corelli’s triosonatas- provide a particularly good impression of Hotteterre’s stylistic diversity. Michael Form has chosen the recorder for the interpretation of Hotteterres flute music. Alternative arrangements were of course a welcome means of ensuring a wider dissemination of musical works - and a common practice among composers of the time. For the majority of the suites which descend below the range of the treble recorder in f’, Michael Form decide to use a flûte de voix in d’ -with his warm timbre this instrument gives the pieces a special charm. Contenu: Les compositions de Jacques Hotteterre font partie des plus riches œuvres de musique de chambre française des premières décennies du 18ème siècle. Au sein de son œuvre variée, les deux tomes des Pièces pour la flûte traversière tiennent une place à part, également sous des aspects didactiques. Jamais auparavant, une langue sonore aussi expressive, aussi sublime de ferveur, ne fut inventée pour un instrument à vent. Au-delà de cettes suites aux nombreuses facettes, les Airs et brunettes (croulant sous les ornements originaux) ainsi que les Sonates en trio (prenant appui sur les sonates en trio d’Arcangelo Corelli) offrent une bonne impression de la diversité stylistique de Hotteterre. Pour interpreter cette musique Michael Form a choisi la flûte à bec. Pour les suites qui descendent en-dessous du registre de la flûte à bec alto en fa’ - presque toutes -, Michael Form a décidé d’utiliser une flûte de voix en ré’. Avec son doux timbre cet instrument donne la musique une charme exeptionelle. |
18.00 eur Buy |
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ID: STR37032 CDs: 1 Type: CD |
Subkolektion: Flute Soliloquio (Luis de Pablo)
1 Soliloquio: I. Mesto 00:05:49
2 Soliloquio: II. Sfrenato 00:05:25
3 Soliloquio: III. Quasi monoritmico 00:04:19
4 Soliloquio: IV. Coda frettolosa 00:03:13
Melissa furioso
5 Melissa furioso 00:13:45
Per flauto
6 Per flauto: I. Dubbi 00:00:54
7 Per flauto: II. Tessuto 00:01:51
8 Per flauto: III. Aria 00:02:41
9 Per flauto: IV. Labirinto 00:01:04
10 Per flauto: V. Pensiero 00:00:44
11 Per flauto: VI. Volo 00:00:43
12 Per flauto: VII. Finale 00:01:13
Cuatro fragmentos de "Kiu"
13 Cuatro fragmentos de "Kiu": I. Fantasia (Version for Flute and Piano) 00:04:10
14 Cuatro fragmentos de "Kiu": II. Aria (Version for Flute and Piano) 00:03:28
15 Cuatro fragmentos de "Kiu": III. Burletta (Version for Flute and Piano) 00:02:24
16 Cuatro fragmentos de "Kiu": IV. Andante - Adagio - Finale (Version for Flute and Piano) 00:07:33 |
18.00 eur Temporarily out of stock |
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ID: RK9804 CDs: 1 Type: CD |
Subkolektion: Flute Johann Philipp Kirnberger (1721-1783)
Sonate pour flûte et basse continue en sol majeur
Sonate pour clavecin en ré majeur
Musicalischer Circul
Johann Gottfried Müthel (1728-1788)
Sonate pour flûte et basse continue en ré majeur
Tempo di minuetto con variazioni
Benedek Csalog (flute)
Miklós Spányi (clavicorde) |
18.00 eur Buy |
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